4 2 Masterclasses Academiejaar Drawing in/as Contemporary Art Rinus Van de Velde & Johan Desmet (SLA) Drawing traditionally occupies a marginal position in the history of the plastic arts. In the works of most artists, it merely fulfils a secondary role, serving as a preliminary sketch for the actual work of art. It was not until the late 70s, however, in part for economic and practical reasons, that drawings gradually gained the status of autonomous works of art. Symptomatic of this new position is the trend setting exhibition Drawing now (curated by Bernice Rose) at MoMa in Drawing noticeably revived in the 90s, when artists such as Raymond Pettibon, Jockum Nordström, Toba Khedoori and Paul Noble, all using drawing as their main medium, became more widely known and appreciated. In painting s slipstream, as Emma Dexter explains, followed the shy sibling, drawing, arriving without any apologies or explanation. Drawing had never been widely theorized in its own right, allowing the field to be open for artists to make of it what they chose. Nevertheless, drawing s theoretical invisibility and lowly status continues up until today. According to Bernice Rose, drawing can be situated somewhere between the idea and the realisation of an artwork, implying a fundamental conceptual nature. As the draughtsman William Kentridge put it, drawing is a testing of ideas; a slow-motion version of thought. The uncertain and imprecise way of constructing a drawing is sometimes a model of how to construct meaning. In the essay Painting and the Graphic Arts Walter Benjamin differentiates between the three-dimensional, representational (and thus vertical ) nature of painting and the flat, symbolic ( horizontal ) nature of the drawing, suggesting that it is not a window on the world, but a device for understanding our place within the universe. This master class aims to investigate the position of drawing in contemporary art, from a theoretical as well as a practical point of view. A series of lectures by people working within this field of interest will be organized, as well as a studio visit to have a closer look at the daily practice and visits to the participants studio s to talk about the work of the applicants of the master class. Week van 24 maart 2014 Museumbezoek, atelierbezoeken, voordrachten Groepsbesprekingen en evaluaties van de aangeboden materie Eventueel verplaatsing en toegangsticket museum Dutch and/or English Active participation & paper De deelnemende studenten schrijven in een paper van max. één A4 een onderbouwde en kritische reflectie uit over hun individuele (teken) opleiding van de laatste vier jaar hoger kunstonderwijs. Hun bevindingen worden getoetst aan nieuwe inzichten verworven tijdens deze masterclass. In deze paper wordt een evaluatie gemaakt van de vorm en de waarde van een tekenopleiding anno Wat is de eventuele méér- of minwaarde van dit tekenen? En vooral wat is de waarde van tekenen in het ontwikkelen van een hedendaagse artistieke praktijk? Deze bevindingen worden letterlijk geïllustreerd tijdens een workshop tekenen die ingebed is in deze masterclass. De studenten worden geëvalueerd op actieve betrokkenheid bij de masterclass en op de inhoud van de paper. Ook de zin tot een onderbouwd tekenkundig experiment, gelinkt aan de workshop, wordt opgenomen in de uiteindelijke evaluatie. Tijdens en na de workshop (paper) 15 Verschillende locaties. Afhankelijk van de te contacteren kunstenaars, sprekers en van de museum- en galerieactiviteiten van het moment. De workshop wordt georganiseerd op een plaats die afhangt van het aantal ingeschreven studenten. Plaats, datum en uur worden ruim vooraf meegedeeld.

7 5 Masterclasses Academiejaar Art as Generator for Change in Society Nico Dockx, Mark Luyten, Thomas Crombez & Arthur Cools (KASKA, SLA, M HKA, UCSIA, Cinema Zuid) ism Michelangelo Pistoletto & Cittadellarte guests As a humanist artist engaged in the world, Michelangelo Pistoletto s spiritual and artistic journey has led him to address social, political, economicaland environmental issues and to create the Cittadellarte foundation, a laboratory dedicated to transform society in a responsible way through the creative function of art.contemplatingthe Arab Spring, global governance, sustainable development, technology and ethics, he has now written his last manifest Omnitheism and Democracy. The manifest further elaborates on the chapter Arts as Spirituality of his formermanifest The Third Paradise (which also covered issues such as Wealth as Sharing, Sustenance as Production and Trade on a Global Scale, Survival as Population Control, Education as the Primary Means of Social Change, Democracy as the Balancing of Differences, Freedom as Generator of Responsibility). In it he explains his view of inhabiting our planetary garden in a spirit of democracy based on sharing and participation and free from religious monopolies, which he replaces by the concept of omnitheism, deconstructing the concept of God in as many particularities as there are individuals. He strives to install a renewed confidence in society by substituting power (kratos) by practice (praxis) and proposing a movement from democracy to demopraxis. Acknowledged as one of the main representatives of the Italian Arte Povera, Michelangelo Pistoletto founded Cittadellarte in a former mill in Biella in Its objective is to inspire and produce a responsible change in society by means of creative ideas and projects. Cittadellarte s projects activate a network of collaborations with organizations and individuals throughout the world, mapping out a geography of change. Each year Cittadellarte organizes an artist-in-residence program called Unidee (University of Ideas). In 2003 Pistoletto wrote the Manifesto of Art and Enterprise, in which he underscored the necessity to develop prospects of plurality, singularity and difference, referring back to the Renaissance tradition of strict interconnection between creativity, science and production, to counterbalance the omnivorous system of global homologation on the economic plane as well as on others. In 2003 the Antwerp museum of contemporary art, M HKA, dedicated a large exhibition to the path that led from Pistoletto s artistic work to the birth of Cittadellarte, its activity and its network of collaborations. In March 2004 Turin University granted Pistoletto an honorary degree in Political Science. On that occasion Pistoletto publicly announced the most recent phase of his work, Third Paradise, the symbol of which is the New Infinity Sign created in Third Paradise and Pistoletto s recent research into this symbol was presented at the 51st Venice Biennale in In 2010 Michelangelo Pistoletto wrote the essay The Third Paradise. His work mainly deals with the unification of art and everyday life. The idea of this workshop will be to create a sort of laboratory for testing out and discussingsome of Michelangelo Pistoletto s ideas of social transformation together with a group of invited guests from various research fields (of which some of them have been working together with Michelangelo Pistoletto & Cittadellarte since more than 10 years. Names to be confirmed: paolo naldini, matteo lucchetti, judith wielander, erik hagoort, stealth, nicola setari, pascal gielen, florence oostende & corinne diserens) and some master and alumni students from both art schools in Antwerpen, with the desire to implement these ideas one day as a possible learning program within existing universities and art academies. 4-8 november 2013 We will provide a reader and feedback / English Active participation Permanent evaluation 15 University Antwerpen (UA): De Meerminne > 5 November, 7 p.m.: public lecture Michelangelo Pistoletto on his latest manifest Omnitheism and democracy + Q&A with sociologist Gert Verschraegen Cinema Zuid > 6 November, 8 p.m.: screening of some films of Michelangelo Pistoletto M HKA: M HKADEMY project in collaboration with Nico Dockx & Johan Pas > 4-8 november: workshop with Michelangelo Pistoletto, Cittadellarte members, some invited guests and students from both KASKA, SLA & UA in the M HKA. we are still working on the list of invited guests for this workshop

8 6 Masterclasses Academiejaar Pretty Instructions for a Drawing Automaton Giorgio Olivero The Drawtomaton Climber is a self-operating machine, able to climb on a wall while precisely drawing on it according to a series of formal instructions expressed through code. We ll explore the process of building a DIY drawing machine as an example of the liberating potential that floats at the intersection of DIY electronics, digital fabrication and custom software tools. The Climber is a very simple, low-cost open-source robot: a couple of stepper motors, a big marker, an Arduino board, few electronics components, lasercut parts and a lot of fishing wire. It can be controlled through a set of software commands not unlike the instructions that Sol LeWitt who stressed the idea over its execution provided to hired draftmen who then executed his monumental wall drawings. During the first day of the master class we will assemble one of the two units that will be used throughout the week. Selection criteria: This master class welcomes students from all fields and backgrounds. Previous knowledge of Processing is recommended, but not required (basic-intermediate skills, as the main project framework will be provided by the teacher). No electronics or Arduino knowledge required. About ToDo: ToDo is a next-gen design studio based in Italy and founded in While designing near-future projects today, we focus on dialogue, exchange and community through the integration of ideas, interactivity and technology. The outcome is a steady stream of new experiences that question and redefine the relationship between technology, products, services and smart environments for the twenty-first century. We are designers who have thoroughly integrated digitalness into their lives. We feel at home dealing with identity and strategy in the age of the mobile web, social networks, physical and pervasive computing. ToDo s founding partners are Giorgio Olivero, Fabio Cionini, Fabio Franchino, Andrea Clemente. The studio enjoys an international network of design and communication professionals and an ongoing collaboration with Elena Fonti, Andrea Pinchi, Riccardo Mongelluzzo and Carlo Syed. Our projects participated in the Venice Biennale 52nd International Art Exhibition, Arezzowave 2007, Club-Transmediale Berlin 2008, Multiverse and Italic 2.0 exhibitions by the Icograda Design Week Week van 16 december 2013 Paper, thick markers etc. Each student will need a laptop pre-installed with the Processing IDE Material costs (paper, markers) English Active participation At the end of the master class according to the work accomplished during the workshop 12 Sint Lucas Antwerpen, campus Sint Lucas

9 7 Masterclasses Academiejaar A Guiness Guide to Oysters Boy Vereecken (SLA) A design brief is a written explanation given to a designer outlining the aims, objectives and milestones of a design project. A thorough and articulate design brief is a critical part of the design process. It helps develop trust and understanding between the client and designer and serves as an essential point of reference for both parties. Above all, the design brief ensures that important design issues are considered and questioned before the designer starts his/her work. Exactly this before is where the interest and angle of research lies in the master class A Guiness Guide to Oysters. The aim is to explore a thing ; an object, product or any other format that has had a previous life existing in a brief, and to try and fantasize, write, re-create the moment of the brief in itself. The fictional element is essential in this exercise and makes the participants aware of the unconventional birth of things. The course consists of a talk, group discussions and individual working spaces. The result can vary between a text, a video, fictional dialogues, a new object/product, model or inquiry. This master class welcomes students from all fields and backgrounds, who have a great interest in how things become. Students are encouraged to chose topics close to their own work, master project or field of interest. Week van 9 december texts to be read, provided in advance by Travel Antwerp-Brussels Dutch and/or English Permanent evaluation Permanent evaluation 15 Studio Boy Vereecken, Brussels, near South Station

10 8 Masterclasses Academiejaar The Quantified Self: Visualizing your Life Frederik de Bleser & Lieven Menschaert (SLA) Each sms we receive, each Facebook post we like and every web search we do is captured for eternity. It s as if our existence can be reduced to an endless stream of numbers. What if we could visualize this data and discover patterns in the chaos? Can we learn something new by quantifying ourselves? In this master class we ll look at ways to collect all this information and then visualize it. We ll use NodeBox 3, a visual, node-based tool that does not require programming experience. We ll learn how to capture, prepare, visualize and refine your data. The end result will be a poster representing you. Visualizing your own data can give you new insights into your life and your habits. In addition, it is a great exercise to learn about data visualization in general. To participate, we require you to carefully log what happens during a period of 5 months. This registration can happen using a custom-built smartphone app or on paper. Week van 9 december 2013 en van 24 maart 2014 Since the project is about life logging, we need data about their life to log. That s why we would organize a first meeting in the first week of October 2013 to set up the logging applications. We want to hold the workshop as a full week in the atelierweek. In addition, we will teach one day before and after the workshop for preparation and finalization. / / Dutch and/or English Presentation, finished poster Permanent evaluation during the workshop + at the end of the master class 12 Sint Lucas Antwerpen, campus Sint Lucas

11 9 Masterclasses Academiejaar Inviting Herman Van Rompuy: A Thought Experiment in the Practice of Art & Politics Jeremiah Day & Wouter Davidts (SLA) The question of how art relates to political life is often posed in the abstract, but in this seminar we will take up both art and politics as concrete activities, with a particular focus on the European Union, its roots and goals, and the crisis it has been thrown into that has no end in sight. The point of departure is Jeremiah Day s invitation to Herman van Rompuy to appear and speak in response to one of Day s performances. The whole week is about a potential event what it means to make this invitation and to prepare for a possible yes thinking through issues of architecture, design and mode of address. Part of a broader project dealing with the memory of the European Resistance, this seminar exists to lay the ground for this potential event, asking students to appear as both artists and citizens in thinking through the practical and theoretical, artistic and political issues involved with trying to include the voice of the President of Europe. Students will be introduced to Day s practice and the key sources and texts that inform his approach Hannah Arendt, and in particular her work on the poetics and politics of the French Resistance and also alternative models of culture and public space like the US musical group Fugazi. We also will experiment with a key aspect of Day s practice improvisational performance and work with the city itself to try and ground our speculative discussions in concrete examples and interventions. Information on previous presentations in this series can be found here: ACTION/7315/ Week van 6 januari 2014 / / English Active participation Permanent evaluation 12 Sint Lucas Antwerpen, campus Sint Lucas

12 10 Masterclasses Academiejaar Reinventing the Design Magazine Rob Van den Nieuwenhuizen (Drawswords / Almanak) Sometimes it seems printed design magazines are quickly becoming a thing of the past. Is that because of the steady rise of blogs, tumblr pages, and twitter accounts or because the design magazine as a concept needs a big pun intended update? Let s see if we can reinvent, reformulate, rediscover, redesign, and revive The Design Magazine. About Drawswords Amsterdam-based design studio Drawswords was founded in 2008 by graphic designer Rob van den Nieuwenhuizen (NL). The studio s work is characterized by visually strong, clear and refreshing content-based typographic solutions. Drawswords designs for both cultural and commercial fields and works on projects such as visual identities, publications and editorial design, websites, music packaging, artist books and other printed matter like posters and flyers. The studio also initiates projects of its own, like the Langscapes collaborations with several well-known composers. Week van 9 december 2013, van 17 maart 2014 of van 24 maart 2014 Bring laptops, magazines, sketchbooks, and what not. Anything you think you might need. Material costs Dutch / English Active participation, research, presentation, publication Permanently during the process and also at the end of the master class 15 Sint Lucas Antwerpen, campus Sint Lucas

13 11 Masterclasses Academiejaar Exhibitionism(s) Benjamin Lignel Any exhibition must contend with the physical constraints of the medium you work in and with the ongoing discussion the wider field of art is having regarding display conventions: less critical than complicit, current curatorial trends treat those conventions like a toolbox of endless combinatory possibilities. As a result, exhibition set-ups dialogue with their heritage (the white-cube, the wunderkammer), incorporate strategies borrowed from other fields in the distribution business (the shop, the vending machine) and employ various penetration methods (installation, occupation, infiltration). Meanwhile, the last decade has seen the rise to prominence of the curator, who takes an ever more active (and playful) role in determining how we engage with art. Whether they obscure or activate the intention of the artist, their curatorial strategies have a huge effect on how we perceive art, and give it value. However, impactful does not always translate into meaningful, and we often wonder how much control and understanding curators (and artist-curators) have over the environments they set-up, and whether those environments actually do the work a favor. During this workshop, the students will investigate, separately, two of the exhibition formats they will encounter in their career: the group show, and the solo show. No longer a second choice, the group show when done well can lend itself to creating something that is more that the simple addition of unrelated parts. It can define the contours of a new genre (like Germano Celan s Arte Povera show, and closer to us, the YBA s Sensation show), revisit and modernize an old one (Les Magiciens de la Terre) or become a tool to research an idea (Nul si découvert). The challenges facing collective projects have to do with working from a given (in this case, a diverse group of makers) and reconciling various artistic ambitions under a single umbrella. Group shows are also human adventures: their success hangs on our ability to work together towards different goals. The solo show, on the other hand, presumably lets the artist have total control of how, what, and where: there is more freedom there. The challenges are also different, and have to do with putting out something that is proportioned to your intentions, and manufacturing an experience from the few constraints that do exist (the space where you exhibit). The students will start working in groups of two: they will plan and design solo exhibitions in two adjoining rooms of the same museum/gallery/alternative space. After their projects have been presented and discussed, they will then be asked to work in groups of eight (half the total number of students) to conceive, design and explain two group shows. In both cases, we will look at how the students projects articulate their conceptual allegiance to art, fashion, design or the applied, and what mediation strategy they use to put their message across. Three guests curators will come during the week to attend the de-briefing and discussion sessions. Week van 24 maart 2014 Sketchbooks, architectural modeling material (board, adhesive, cutters, rulers etc.), camera, computer, a selection of own work. / English Active participation / commitment to own goals Permanent evaluation 16 Sint Lucas Antwerpen, atelier juweelontwerp Selection procedure There is no formal selection procedure, but students who want to participate need to have a finished body of work/installation project etc. that will serve as material for the curatorial research.

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